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CICATRIZ

A creation by Kirenia Danza co-produced by Artestudio Xestión Cultural and the Xunta de Galicia through the Galician Choreographic Center.
DIRECTION & CHOREOGRAPHY:
Kirenia Martínez Acosta
 
ON SATAGE:
Kirenia Martínez
Antón Reixa
TEXTS:
Antón Reixa
VOICE:
Antela Cid
Uxío Novo
LIGHTS:
Violeta Martínez
PHOTOGRAPHY & VIDEO:
Global Blue
MUSIC:
Marcos Payno
Bruno Baw
SCENIC DESIGN:​
Suso Mareque
PRODUCTION:​
Uxío Novo
Fany Vázquez
DISTRIBUTION:​
Carlos Martínez Carbonell (Crémilo)
Fany Vázquez
COPRODUCTION:​
Xunta de Galicia
Centro Coreográfico Galego
Credits:
  • Dramaturgyu assistance: Alejandra Aguirre 

  • Graphic design: Niko Alvarellos

  • Technical service: Equipo Creativo RTA
    Lights: Diego Vilar

  • Poetry: Antón Reixa, Demián Ravilero, Uxío Novoneyra
    Text assistance: Keina Espiñeira por cortesía de ESOMI (UDC)

  • Production: Uxío Novo por cortesía da Fundación Uxío Novoneyra, Paulo Fernández e Serea Films

  • Coproduction: Centro Coreográfico Galego, Agadic, Xunta de Galicia
    Distributi: Kirenia Danza e Serea Films

ABOUT THE PIECE:

The new production by Kirenia Martínez and Antón Reixa, Cicatriz, will be a performance that combines dance and spoken word in an interdisciplinary fusion exploring desire and entropy as driving forces of life. This project aims to transcend the traditional boundaries of dance and poetry, creating a unique and immersive experience for the audience.

The pre-existing text Cicatriz is about desire as the engine of life, an entropy that reorganizes its own chaos, always failing in the images it mentions and invokes. These images only manage to align themselves martially within the anaphoric hammer of the verbal form, yet they return to that impossible chaos in their referential enunciation. The title itself, Cicatriz (Scar), alludes to the indelible nature of desire, while Barullo (Noise) resignifies the verbal torrent of entropy already mentioned. The poem exists through long verses beginning with "I want", and as an appendix, it includes two smaller sections starting with "Scar" and "Noise".

We have chosen historical, traditional, and even ethnographic techniques from the so-called spoken word, which places both performers and audiences in a performance where poetry is necessarily linked to music and theater. The work is conceived as an experimental journey, meaning that the outcome is not pre-defined, and equal importance is given to the creative process itself. The final result is the creation of a polyvalent atmosphere (phonesthesia). The experimental paths stem from elements such as tone, intonation, rhythm, gesture, and facial expression in various options.

This process begins with the use of digital sequencing programs, incorporating ethnographic, anthropological, and culturally traditional elements from the locations visited during rehearsals and early performances. As a preliminary intention, the production seeks to work in Japan and Cuba, leading to a confrontation with the haiku form and Japanese paratheatrical techniques, or in Cuba, with African-influenced percussion.

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THE CHOICE OF TITLE

The choice of the title, "Cicatriz," comes from one of Antón Reixa's most recent poems but also arises from the desire to capture the essence of the themes we are exploring: the idea of the scar as an indelible mark of desire and the noise as the verbal torrent of entropy. We aim for the performance to be a trans-sensorial and emotional experience that invites the audience to reflect on the nature of desire and chaos in human life. Additionally, there is a subtext of inclusivity and the staging approach previously described.

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SYNOPSIS:

The "Scar" that gives this show its name proposes a reflection on how "desire"—and, more specifically, the desire for desire (the need to have desires)—is the driving force of life. The two performers move in and out of three tubular structures, resembling open booths, as if the play between "inhibition/disinhibition" were the essential mechanism for managing this perplexity of existence. At the very least, accepting this challenge leaves an indelible scar on us.

Perhaps it is of interest to the audience of this stage experiment that this work is built upon the contrast between Kirenia Martínez’s extensive choreographic experience and Antón Reixa’s complete lack of background in contemporary dance, as well as his physical disability (65%).

In contemporary dance, emotion is essential—above any technical virtuosity or age.

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